Pink Floyd/London,UK 1974 Pre-FM Master Upgrade

Finally renewed!! The BBC’s finest soundboard representing Pink Floyd 1974 has been significantly upgraded with realistic sound waves!! A shocking piece is now available!! The only one of all Floyd’s 1974 performances The Wembley Empire Pool performance was the longest-booked performance for four consecutive days. The performance on November 16th, the third day, was recorded by the British public broadcaster BBC at the time, and was broadcast on BBC Radio 1 the following day, January 11th, 1975, so it has long been known to music fans. It was a stereo soundboard recording. What changed this in the internet age was the sound source file called “HRV CDR 033″ released by Floyd fan site Harvested. This Pre-FM sound source, which was exposed to the light of day for the first time before airing, became a hot topic as a master sound that exceeded all the same-day sound sources that had been distributed underground until then, and its ultra-high sound quality was of course outstanding. “I’ve been mad for fucking years, absolutely years, been over the edge for yonks” It was a sound source that captured the hearts of fans with a number of contents that expanded the listeners’ knowledge, such as “)”. The first title, “BBC ARCHIVES 1974,” also used this source to mark the launch of the label, and the careful finish that enhanced the accuracy of the original sound with the high level of technology that can only be expected from a specialized label shocked fans around the world. We have laid the foundation for giving and being supported. This first disc contains the master sound from this BBC line recording in its best condition, but on the other hand, the Pre-FM sound image is more similar to the sound of a studio recording than a live sound. As a result, it was also true that it lacked a sense of realism and live recording of the scene on the day. If you are used to unofficial sound sources, you will be able to understand the meaning of the sound image as a result of the high quality of the sound source, but while maintaining the high precision of the performance sound, it will warm you up every time you listen to it. If it is also a live sound source, it can be said to be the ideal form of a recorded sound source. On the other hand, speaking of the realism of the scene, it is naturally an audience recording, but as is well known, there are two excellent audience recordings of this performance that fully inhale the atmosphere of the venue on the day. Including that, let’s organize these three same-day sound sources once again… [Pre-FM source (*stereo sound board recording)] A sound source widely known as “HRV CDR 033” published on the fan site Harvested. This is an original sound source recorded before the program aired on January 11, 1975 by BBC Radio 1 in the UK. This is the raw sound that was recorded live for commercial broadcasting using a BBC recording setup, and HRV CDR 033 was recorded reel-to-reel directly from that master reel tape. Naturally, it is recorded with an incredibly excellent stereo sound, and it can be said to be a sound source that represents the 1974 Wembley performance in terms of both material and sound quality. Already released discs included the aforementioned 1 and disc 4 of “RAVING LUNATICS”. [Recorder 1 (*Audience recording)] Recorded by Gary Hurley. Of the two audience recordings from November 16, 1974 whose existence has been confirmed at this time, this is the source with the better sound quality. It is closer to a PA stack than Recorder 2, which will be described later, and has a good dynamic range with almost no hiss noise, which is a good balance, but the biggest drawback is that the encore song “Echoes” is not recorded. Sho. Also, there are slight traces of tape flips at certain intervals, which suggests that this master is a 120-minute cassette tape. Already released editions include “BLACK HOLES IN THE SKY (No Label)” (different from the same title on Great Dane Records). [Recorder 2 (*Audience recording)] Recorded by Nigel Bradder. This is a 1st Gen sound source that has been digitized with noise reduction and pitch correction, using the original cassette master. Approximately 33 seconds are missing from around 1:36 of “Any Color You Like” due to a tape change or reverse point, and it is known that it was recorded from the back of the Wembley venue, so the sound has more punch than Recorder 1. Although it is somewhat weak, it is characterized by a huge advantage in that it completely includes “Echoes”, which was the biggest drawback of Recorder 1. Moreover, the wide field of view captures the performance of the day and the atmosphere of the venue, giving it an outstanding documentary feel. As an existing sound source, there is an online sound source file called “NO ROOM UPON THE HILL)”. …However, if you use this perfect Pre-FM sound board as the main axis and properly synchronize the two types of audience recordings, you can achieve a perfect documentary feel while maintaining the high sound quality as a broadcast sound source. You should be able to get a sound image. What made this happen is this latest work, the ultimate 1974 BBC Wembley, which is a perfect matrix of three existing recordings from the same day in a “3 in 1”!!! This 3 in 1 source was posted on the Internet several years ago. Although it was a sound source that had been released to the public, it had been buried, but the extremely realistic sound quality was so great that even the staff who were strict about quality were stunned. Although it is completely unprocessed as there is no need for remastering, this is what brings back that 1974 Wembley with super special sound quality and realism. For example, in 1, from the start of the disc, the heartbeat sound came out to the front, and the sound in the venue was faint (*really very slight. You wouldn’t notice it unless you were wearing headphones), but with this 3in1 source, From the start, the venue was filled with enthusiasm and cheers, and from within that, the sharp heartbeat sound recorded by the BBC master emerged with a core sound. After the monologue, which was cut in the actual broadcast, is played in mega-clear sound, “Breathe” finally begins, and as you know, the place usually erupts at this point. However, with the 1 = Pre-FM sound source, you could hardly hear the excitement of the audience at all, and only the well-honed performance sound was conspicuous. However, this is also the first time that the vivid reactions of the audience who witnessed the event are matrixed, and the documentary nature, which had been relegated to the corner, adds even more authenticity and response to the performance. In addition, in “Time”, the chorus by Vanetta and Carlina comes in from the left side of Rick’s singing voice, which has a thin line connecting the sounds in the center. It’s worth noting that the live broadcast sound doesn’t disturb the audience, and it’s worth noting that the live broadcast sound doesn’t disturb the listener. Sky” too, the voices of the two ladies, separated into left and right channels, are overlaid with the live reactions in the venue, bringing back the real energy that was present at the scene. By the way, between this “The Great Gig In The Sky” and the next song “Money”, there is a gap of about 4 seconds in the original Pre-FM source, but here we adjusted both audience sources. A fade is performed to smooth out the traces of editing, and the finish is so perfect that it is almost impossible to tell by hearing. “Any Color You Like” was recorded with great sound on Sigma 1, with the tremendous direct feeling of the ensemble, but this was also because the real-time reaction of the audience that matched the progress of the song was added to the sound image. You will be able to realize once again how dazzling the radiation of reason that his performance was. In “Brain Damage”, the reverb effect applied to Roger’s vocals, which could not be picked up by the Pre-FM sound board source, was brilliantly compensated for with the audience source. The original sound that was spreading throughout the venue will be revived clearly. “Echoes” also has the overlap of venue recordings, which increases the historicality and further tightens the Pre-FM sound. What’s more, you’ll notice that it sometimes even gives a surround sound effect, and it’s sure to warm your heart at the end of the song. Adding another dimension to commercial broadcast soundboards. It can be said that it is a work that uses the atmosphere of audience recording to sharpen the brilliance of the already high-quality sound with realism. Because all the sound elements that should be present are present, the vibrations of each sound are stronger than when listening to the Pre-FM sound source alone, and the amount of information contained in the sound feels denser. , you are sure to be able to enjoy the euphoria of the original high-quality sound of a live recording at an even higher level. This deep blending feeling where the three sources overlap in their best form, the sound fit…This is exactly what we wanted from this sound source, and it is sure to be a satisfying listening experience. This is the real sound of Wembley in 1974, the completed Pre-FM sound source that you can tell the difference from the moment you hear it!! Live at Empire Pool, Wembley, London, UK 16th November 1974 STEREO SBD (Best Version Ever)*UPGRADE (75:51) The Dark SSBD + AUD1 + AUD2 Matrix Mix (60%/SBD + 25%/AUD1 + 15%/AUD2) PINK FLOYD – WEMBLEY 1974 PRE FM MASTER: 3 SOURCE MIX(1CD + 1974 UK Tour Program Replica) Live at Empire Pool, Wembley, London, UK 16th November 1974 STEREO SBD (Best Version Ever)*UPGRADE SBD + AUD1 + AUD2 Matrix Mix (60%/SBD + 25%/AUD1 + 15%/AUD2)ide Of The Moon 1. Speak To Me 2. Breathe 3. On the Run 4. Time 5. Breathe (reprise) 6. The Great Gig In The Sky 7. Money 8. Us And Them 9. Any Color You Like 10. Brain Damage 11. Eclipse 12. Echoes David Gilmour – guitar, vocals Roger Waters – bass, vocals Richard Wright – keyboards, vocals Nick Mason – drums, percussions Dick Perry – saxophone Vanetta Fields – backing vocals Carlena Williams – backing vocals STEREO SOUNDBOARD RECORDING